The Yearling (1946 Clarence Brown)

Looks great: the scene where everyone's around G. Peck's bed looks especially Old Mastery. Claude Jarman Jr's great as the human yearling, but when the other kid 'Fodderwing' comes on with his faraway look, you want to slap him. Such is the technical excellence of the film you're not sure sometimes whether  you're looking at a painting / studio or sky / exterior. Sympathy for the actual deer has definitely reduced over time!

Casino Royale (2006 Martin Campbell)

Determined to be different - pre-credits in black and white. Sniper / blood image at end. Graphic design titles (Martin Kleinman). Actually follows (some of) Fleming's plot. 'Bond, James Bond' at end.

Craig excellent (cool but vulnerable). Villain draws on tradition of European actors, Mads Mikkelsen more credible than other villains, but weedy. Didn't even recognise Giancarlo Giannini as Mathis. Paul Haggis had a hand in better-than-usual script. No campy humour, minimum gadgets. Great torture scene. Phil Méheux has come a long way since Out (remembered this after ?30 years). Arnold's score really a John Barry copy. Absolutely amazing standard-setting stunt / chase early scene free-running. It's long, but there's no 'big' set piece final shoot out: a definite plus.

Ashes and Diamonds (1958 Andrzej Wajda)

Though not as immediate as Kanal, and more complex, contains several moments of classic film: the couple in bed, all close-ups and darkness; the murder and fireworks; death on rubble; the chapel.

Kanal (1957 Andrzej Wajda)

Wow. Becomes surreal indeed in the dark, dark sewers, where Vladek Sheybal goes mad (what happens to him?) and almost everyone is caught. Distinctive soundtrack, the darkest photography, a satisfyingly downbeat ending. Only Daisy, we suspect, might be a survivor. Funnily enough, no mention  of the smell (except at the beginning, when she's been walking the sewers).